By Claire Del Sorbo
From March 2014 to September 2015, Michael Mayer’s revival of “Hedwig and the Angry Inch” played for over 1,000 performances at the Belasco Theater. The musical, which closed this past weekend, starred a notable array of performers in the eponymous role: Neil Patrick Harris, “Dexter” star Michael C. Hall, Andrew Rannells, original “Hedwig” actor and librettist John Cameron Mitchell and “Glee” star Darren Criss. Upon hearing of its closing, I thought, “I have to see it again before it closes. There’s no other option.” In the titular role this time was “Private Practice” and “Rent” star, Taye Diggs. Despite having seen the show twice already, I had no idea what to expect. I sat in the small velvet chair and, for the next hour, enjoyed one of the most unique theatrical experiences of my life.
“Hedwig and the Angry Inch” is a rock musical, with music and lyrics by Stephen Trask, and a libretto by John Cameron Mitchell. Performed entirely in monologue, the musical tells the story of the glamorous and hapless genderqueer East German rock singer, Hedwig, and her band, the Angry Inch. Hedwig, formerly Hansel, assumed her identity after a botched sex-change operation enabled her to leave communist East Germany to marry an American man. Her story is a string of heartbreaks and tragedies that lead her to where she currently stands, performing a “one-night only” concert at the Belasco.
Taye Diggs’ singing was not superb, but the dark side he brought to such a glamorous character really shocked me in the best way possible. The show is largely built upon improvisational humor, so I knew that I should expect some off-color jokes. I was not expecting, however, for Diggs to poke fun at his non-Aryan origin as Hedwig. He even started the show by announcing to the audience, “You heard right…the bitch is black!” His other improvised jokes discussed topics such as Donald Trump, “Orange is the New Black,” Caitlyn Jenner and even a Frozen joke, in which Diggs poked fun at his ex-wife Idina Menzel. “Hedwig” may come off as a campy show, but Diggs’ take on the material made it very edgy. Not only did it make the audience visibly uncomfortable, but it also forced them to think about sexuality and gender, especially of gay black men and black trans women, who too often are fetishized and commodified by today’s society.
While Diggs’ performance was commendable, I firmly believe the star of the show was Rebecca Naomi Jones as Yitzhak, Hedwig’s mistreated husband/backup singer. Though Yitzhak was quiet for most of the show, I was enthralled when I heard the powerhouse that is Jones come out of a timid man’s body. Jones’s performance of Yitzhak’s solo, “The Long Grift,” was a dynamic and passionate portrayal of Hedwig’s grievances. It’s quite ironic that a subdued character could give the most emotionally stirring performance of the show.
The entire production of the show, from its visuals to its musical arrangements, was simply raunchy fun. Hedwig is a character that the audience laughs with, sympathizes with and in the end cheers for. Her story is one that all of us experience at some juncture in our lives: learning to feel comfortable in one’s own skin, carrying the ubiquitous theme of self-acceptance. If we all emulate her triumph, perhaps everybody can learn to love their inner Hedwig.
